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THE SCREEN; A Lesson in Golf. A Fashionable Rogue.

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The good old days of yesteryear in the Latin Quarter, with Trilby, Little Billee, the Laird, Taffy, Gecko and the sinister Svengali are revealed on the screen of the Hollywood Theatre in a talking pictorial version of Du Maurier's unforgettable story, "Trilby," in which John Barrymore revels in the rôle of the bearded Svengali.This production, which bears the title of "Svengali," may have lost some of the romantic charm of the author's tale, but it compensates for this by Mr. Barrymore's imaginative and forceful portrayal, and also by Archie Mayo's knowledgeful supervision of the camera work. Where it is possible the producers have introduced some mirthful moments, but, as might be presumed, this feature is mostly concerned with Svengali's hypnotic powers over that girl with the perfect feet and the big, blue eyes, who called herself Trilby O'Ferrall. And in these sequences there is Mr. Barrymore's fine performance, which surpasses anything he has done for the screen, including his masterful acting in the motion pictures of Stevenson's "Dr. Jekyll and Mr. Hyde" and Clyde Fitch's "Beau Brummell." He is aided in no small way by remarkable photographic wizardry, for during those scenes wherein he hypnotizes Triby, his eyes appear to lose the iris and become a luminous white. He wears a long dishevelled beard, and he seems to have put something into his shoes to make him look even taller than he is.This Svengali, being stripped of funds, goes to the studio of that trio, Little Billee, the Laird and Taffy, with his faithful Gecko to collect a few centimes by playing the piano. He chances to arrive when the Laird, nicely played by Donald Crisp, is in his bath. To him such ablutions mean that Britishers get dirty quickly. He is as much averse to a tub as a dog, and after his disdainful remarks concerning soap and water he plays Britain's national anthem,, and Taffy is impelled to stand erect, while the Laird, not to be outdone in the matter of patriotism, throws a towel around him and gets on his feet in the tub. They revenge themselves on Svengali for his interruption by forcing him to take a bath and the ignominious hypnotist is beheld with his hair and beard covered with soap suds.Then come the days when Svengali has forced Trilby to leave Paris with him, and subsequently when he and the girl return to Paris and Little Billee, the Laird and Taffy, in silk hats and old-fashioned clothes, go to the concert. Svengali is now slightly more prepossessing, until he fixes Trilby with his eyes to make her able to sing. One hears her render an aria from "Lucia di Lammer-moor," and then, after the Svengali spell has worn off, she recognizes Little Billee, but Svengali soon has her again in his power.The closing scene takes place in an unpretentious café in Cairo. Svengali, after reaching great heights with his charge, has come down in the world. In a magnificently acted episode; Svengali, after trying to exert his influence over Trilby, drops dying to the floor, and the girl, who is singing "Ben Bolt," goes off; key when Svengali's influence fails.Marian Marsh plays Trilby. Her make-up is excellent, but her voice when talking is not the voice one expects from the girl Little Billee proposes marriage to so often. Bramwell Fletcher is not especially persuasive as Little Billee. Lumsden Hare, "with Dundreary whiskers, is splendid as Taffy. Luis Alberni gives a praiseworthy account of himself as Gecko. Likewise does Paul Porcasi as an excitable concert manager. Carmel Myers is acceptable in a minor rôle.In one sequence, where Svengali casts his spell over Trilby from his abode to her's, there is unusual artistry. The clock is heard striking midnight and then Svengali begins to exert his malicious influence and the camera travels slowly away from Svengali, out of the window, until his figure is small in the distance. The camera continues, over house-tops apparently, until it comes to the place where Trilby lives and then it enters her room, and the effect Svengali has over the girl is perceived. This is undoubtedly one of the most striking and interesting camera feats ever accomplished in a film.A. Lesson in Golf.The first of Bobby Jones's screen golf lessons in the series known as "How I Play Golf," is now being exhibited at the Hollywood and the Warners' Strand. This particular subject which takes a little less than ten minutes to screen, is subtitled "The Putter." It is particularly well pictured, with well-delivered instruction, good acting and touches of glib comedy.Mr. Jones Is first seen making some practice shots with various clubs while O. B. Keeler, an Atlanta newspaper man, is heard but not seen, giving a brief history of the game played by 4,000,000 persons.The episode then shows Mr. Jones with Richard Barthelmess, and they eventually watch Joe E. Brown and Frank Craven approaching to the eighteenth green. Mr. Craven's shot is dead to the pin, but Mr. Howard's ball lands in a sand trap, which causes Mr. Craven to smile. His cheery expression fades from his face when Mr. Howard holes out from the sand trap, and there is no thought of his conceding Mr. Craven's putt. The latter misses and then Mr. Jones suggests that he show Mr. Craven how he putts.Mr. Jones tells of his change of grip for that particular club, admonishes Mr. Craven to stand with his feet closer together and swing the club in pendulum fashion. Mr. Craven is so pleased with the result of the lesson that he wagers Mr. Howard a box of balls on a brief putting competition. Mr. Jones, from the edge of the green, signals to Mr. Craven to keep his feet closer together, and lo and behold the pupil sinks his putt. Mr. Howard's ball races far from the pin, and so Mr. Craven exits from the screen a thoroughly contented golfer — for the nonce.

"Trilby."SVENGALI, based on Du Maurier's story, "Trilby"; directed by Archie Mayo; produced by Warner Brothers. At the Hollywood Theatre.Svengali . . . . . John BarrymoreTrilby . . . . . Marian MarshLittle Billee . . . . . Bramwell FletcherThe Laird . . . . . Donald CrispTaffy . . . . . Lumsden HareHonori . . . . . Carmel MeyeraGecko . . . . . Luis AlberniMarta . . . . . Ferike BorosMme. Vinard . . . . . Andrienne D'AmbricourtMaid . . . . . Yola D'AvrilConcert manager . . . . . Paul Porcasi"Women are always waiting for some one—and Mr. Darricott comes along," a character in "Ladies' Man" remarks at one point. "If you don't marry me, I'll kill myself," an inebriated young woman screams as she bursts into Mr. Darricott's apartment along about 3 in the morning. "I trust dinner and the theatre will be just the beginning of the evening," another young woman says brightly as she leaves the hotel on Mr. Darricott's arm. And at the close, after Mr. Darricott has been slain by the irate husband of still another woman, his epitaph is spoken by the girl he had confessed to really loving. "He loved me," she tells a policeman. "They can never take that from me."All of which gives an inkling of what to look for in the new entertainment at the Paramount. William Powell's intelligent performance as the fashionable gigolo and some comparatively grown-up dialogue by Herman J. Mankiewicz save the picture from being a complete bore, but even at that it has its trying moments. Lothar Mendes, the director, has permitted too much idle chatter to creep into the microphone, and he has made a bad story worse by telling it with neither clarity nor distinction.Mr. Darricott, it must be evident by this time, is a man with an irresistible attraction for women with busy husbands or dull escorts: He kisses hands exquisitely, and his voice, whatever he happens to be saying, has the quality of a caress. He lives, it appears, by selling the jewelry given him by his wealthy female friends.All the trouble starts after Mr. Darricott becomes Interested in Mrs. Fendley, wife of a banker. Her daughter Rachel falls desperately in love with him, either to save her mother's reputation or because she happens to be a young and very foolish girl. The film does not make this point clear. Adding fuel to the flames, Mr. Darricott himself becomes enamored of another woman and makes a sincere effort to live decently for her sake. But the angry banker spoils everything by tossing Mr. Darricott fifteen or twenty stories into the street from his apartment.Mr. Powell receives capable support from the others in the east, Kay Francis appears as the girl he loves, Carole Lombard is Rachel Fendley, Olive Tell is Mrs. Fendley and Gilbert Emery is the outraged banker-husband-father.A pertinent comment on "Ladies' Man" was delivered by a young man sitting behind this observer at yesterday's early showing. "It seems pretty good," said the young man, "but I can't make out what it's all about."